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I teach AI to editorial and PR teams for a living, and if there’s one thing that excites and engages them more than any other, it’s vibe coding. The highly visual and interactive projects my students create with vibe-coding tools often turn me into the person taking notes. Vibe coding is definitely having a moment. It’s arguably the most impactful thing to come out of the field of generative AI in the past year, at least as far as applied AI goes. Broadly, vibe coding is the practice of using AI to create not just “content,” but webpages, apps, and experiencessoftware people can actually do things with. And you don’t need to know a lick of code: The AI will take your plain-language prompts and do all the programming for you, whipping up pages or even entire websites in minutes. The thrill of the first click The feeling you get the first time you vibe-code something is similar to what you probably felt the first time you asked ChatGPT to write an essay. You feel incredibly empowered, and maybe even a bit fooled. “It can’t be that easy,” is a common thought. And you’d be right: Vibe-coded experiences are visually and technically impressive, but they are almost always one-offs: Turning them into stable tools you can use on an ongoing basis typically requires a wider set of software and developer skills. {"blockType":"creator-network-promo","data":{"mediaUrl":"https:\/\/images.fastcompany.com\/image\/upload\/f_webp,q_auto,c_fit\/wp-cms-2\/2025\/03\/mediacopilot-logo-ss.png","headline":"Media CoPilot","description":"Want more about how AI is changing media? Never miss an update from Pete Pachal by signing up for Media CoPilot. To learn more visit mediacopilot.substack.com","substackDomain":"https:\/\/mediacopilot.substack.com\/","colorTheme":"salmon","redirectUrl":""}} Nonetheless, vibe coding has the potential to be transformative for storytelling, newsrooms, and the media at large. At last, the people crafting content are no longer constrained by the tools forced upon them by their organizations. I remember the publication I worked at in the early days of blogging didn’t even have a gallery tool for readers to quickly scroll through images. Today, even absent AI, there are many platforms and plug-and-play tools to choose from, but they rarely have all the features you want. In any case, incorporating new software is typically a lengthy process in organizations. With vibe coding, creators can now build experiences that are tailored to the content, not the other way around. Like I mentioned at the outset, this often ignites an enthusiasm in storytellers and domain experts, which is leading to a fantastic uncorking of creativity as more journalists dabble with vibe coding, like an interactive explorer of Newarks municipal service data or a webpage that turns wildfire point data into Datawrapper-ready hexagon maps. The challenge for media organizations is to translate that enthusiasm into deeper audience engagement, and to do it in an ongoing way. That, however, requires an approach that goes beyond simply giving reporters and editors permission to experiment. It requires new skills, specialized tools, and above all a culture shift. Turning vibe coding into a team sport sport The skill of vibe coding isn’t that different from “normal” AI skills, which is to say structured prompting and understanding how to collaborate with AI will get you a long way. But to get the most out of vibe coding, it helps to think first about what inputs you need (beyond your story) and find examples of other interactive experiences that are similar. Most importantly, think about what your audience wants and how you expect readers to interact with what you’re creating. Data journalists will probably have an advantage here, but it ultimately comes down to thinking a bit more like a product manager than a writer. You can technically vibe-code in the same platforms where you’re probably already using AI, such as ChatGPT and Claude, but software tailored to vibe coding can generally get you from prompt to product much faster. That said, the services that hew most closely to the familiar chat interface, such as Lovable and Base44, will be less intimidating to non-enthusiasts. For teams, the goal is to have a go-to platform where anyone can experiment with stories in a safe and private way. Given that the whole point of this software is to create web experiences for pushing out to audiences, that can be tricky, but most vibe-coding platforms have controls for keeping things secure by default while still enabling publishing to a public-facing site when you want to. To really take advantage of the interest in vibe coding, however, will often require a shift in culture. Many media organizations have rigid structures around product and editorial. AI has already begun to chip away at the wall separating creators and coders, and vibe coding essentially takes a sledgehammer to it. That can be unnerving to product teams used to roadmaps, strict QA, and defined KPIs. The teams that get this right will properly balance the desire to allow their creative teams to experimentsometimes publiclywithout turning their sites and strategy into the Wild West. Collaboration is key, and doing it successfully means various teams need to be fully aligned on the end goal: creating a pipeline from creativity to new, polished, and highly engaging experiences. As we move closer to “Google Zero” in 2026, media brands need to do more with the audiences they have, and vibe coding provides a means by which the entire team, not just product managers and engineers, can play a role in crafting that future. The future favors the flexible Vibe coding doesn’t need to replace existing newsroom workflows to matter. Its value comes in giving non-coder domain experts like journalists room to test ideas and think beyond the constraints of the CMS without waiting for an opening in the roadmap. Some of those ideas will remain one-offs, and that is fine. Others will point toward new formats worth formalizing. The organizations that benefit most will be the ones that encourage vibe coding as legitimate editorial exploration, support it with light structure rather than heavy oversight, and accept that the path to stronger audience relationships now runs through experimentation as much as execution. {"blockType":"creator-network-promo","data":{"mediaUrl":"https:\/\/images.fastcompany.com\/image\/upload\/f_webp,q_auto,c_fit\/wp-cms-2\/2025\/03\/mediacopilot-logo-ss.png","headline":"Media CoPilot","description":"Want more about how AI is changing media? Never miss an update from Pete Pachal by signing up for Media CoPilot. To learn more visit mediacopilot.substack.com","substackDomain":"https:\/\/mediacopilot.substack.com\/","colorTheme":"salmon","redirectUrl":""}}
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Where success is concernedin whatever way you choose to define successeffort matters. So does skill. Experience. Perseverance. A willingness to do what others will not. And a little bit of luck: A study published in Physics and Society found that while some degree of talent is necessary to be successful in life, almost never do the most talented people reach the highest peaks of success, being overtaken by mediocre but sensibly luckier individuals. Outworking, outthinking, and outlasting other people will definitely improve your odds of success, but still: You need a little luck. Fortunately, all luck isnt necessarily random. According to neurologist James Austin in his book Chase, Chance, and Creativity: The Lucky Art of Novelty, there are four basic types of luck, and three of them you at least partly control: Blind luck. Opportunity, or outcome, without effort. Unforeseen, and more important, uncontrollable. Counting on blind luck? Good luck with that. Luck from motion. Taking action. Trying things. Doing things. Like when I cold-emailed someone to tell them I admired their work. (Which, although I couldnt have predicted it, nor intended it to happen, wound up landing me one of my most lucrative and fulfilling ghostwriting gigs.) You cant luck into meeting the right person unless you meet a number of people; the more people you meet, the more your odds of getting lucky increase. Lucking into meeting the right person is just one form of luck from motion. Because luck is often found, but its almost never found on the literal (or figurative) couch. Luck from awareness. Spottingand then seizingopportunities. Being lucky enough to recognize an opportunity is one thing; youre only truly lucky if you also possess the skills, experience, resources, etc. required to take advantage of the opportunity. While I was lucky enough to live next door to a cofounder of Rosetta Stone, I didnt have the foresightor moneyto invest. Even so, according to an experiment described by Richard Wiseman in The Luck Factor, people who consider themselves lucky tend to spot and seize more opportunities than people who consider themselves unlucky. Oddly enough, simply believing youre lucky is causal. In the experiment, people who saw themselves as lucky spotted an opportunity much more quicklyin some cases, people who saw themselves as unlucky never spotted itand were also quicker to believe it actually was an opportunity, and act on it. The difference was self-perception, not access to opportunity. The key is to pay attention, and believe that paying attention will make a difference. Because it will. Luck from uniqueness. Austin says this involves distinctive, if not eccentric, hobbies, personal lifestyles, and motor behaviors (think actions). Keep in mind you dont have to be a little wacky to be unique. Im decidedly average in all things. But the fact that I know a lot about Formula 1, and Australian rules football, and construction, and Henry VIIIs six wives turned a chance meeting in an airport lounge into an hourlong conversation that sparked a decades-long, mutually beneficial professional and personal relationship. It was partly blind luck I ran into that person. But I was also in motion. And I did quickly realize he was a fascinating conversationalist. And the fact that we share a fairly esoteric blend of interests made us both distinctive, at least to each other. Bottom line? If you want to get luckier, meet more people. Do more things. Try more things. Try more unusual things. Be generous, especially with congratulations and praise. And when you see an opportunity, dont be afraid to ask. Luck sometimes results from the right person saying yes: to your idea, to your startup, to your pitch, to your proposal, to your request. But no one says yes unless you ask. As Steve Jobs said, Most people never ask, and thats what separates, sometimes, the people who do things from the people who just dream about them. You cant control blind luck. But you can, to some degree, control the other forms of luck. What you can control is how you respond to chance or circumstance. And, most important, how often you put yourself into a position to be lucky. Inc.
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Paul Thomas Anderson’s ragtag revolutionary saga “One Battle After Another” took top honors at Sunday’s 83rd Golden Globes in the comedy category, while Chloé Zhao’s Shakespeare drama “Hamnet” pulled off an upset over “Sinners” to win best film, drama.“One Battle After Another” won best film, comedy, supporting female actor for Teyana Taylor and best director and best screenplay for Anderson. He became just the second filmmaker to sweep director, screenplay and film, as a producer, at the Globes. Only Oliver Stone, for “Born on the Fourth of July,” managed the same feat.In an awards ceremony that went almost entirely as expected, the night’s final award was the most surprising. While “One Battle After Another” has been the clear front-runner this awards season, most have pegged Ryan Coogler’s Jim Crow-era vampire thriller as its closest competition.But “Hamnet,” a speculative drama about William and Agnes Shakespeare based on Maggie O’Farrell’s bestseller, won in the dramatic category shortly after its star, Jessie Buckley, won best female actor in a drama.It was a banner night for Warner Bros., the studio behind “One Battle After Another” and “Sinners.” Warner Bros. Discovery has agreed to be sold to Netflix in an $83 billion deal. Paramount Skydance has appealed to shareholders with its own rival offer.In his speech after winning best director, Anderson praised Warner co-chief Michael DeLuca.“He said he wanted to run a studio one day and let filmmakers make whatever they want,” said Anderson. “That’s how you get ‘Sinners.’ That’s how you get a ‘Weapons.’ That’s how you get ‘One Battle After Another.'”The final awards brought to, or near, the stage a handful of the most talented filmmakers together in Anderson, Zhao and Coogler plus Steven Spielberg, a producer of “Hamnet.” Regardless of who won what, it was a heartening moment of solidarity between them, with a shared sense of purpose. Zhao fondly recalled being at Sundance Labs with Coogler when they were each starting out.“As students, let’s keep our hearts open and let’s keep seeing each other and allowing each other to be seen,” said Zhao, while Coogler smiled from the front row.“Sinners” won for best score and cinematic and box-office achievement. The win for box office and cinematic achievement, over franchise films like “Avatar: Fire and Ash,” was notable for Coogler’s film, a movie that some reports labeled a qualified success on its release.Yet “Sinners” ultimately grossed $278 million domestically and $368 million worldwide, making it highest grossing original film in 15 years.“I just want to thank the audience for showing up,” said Coogler. “It’s means the world.”Coming off years of scandal and subsequent rehabilitation, the Globes and host Nikki Glaser put on a star-studded ceremony that saw wins for the streaming sensation “KPop Demon Hunters” (best animated film, song), a meta triumph for Seth Rogen’s “The Studio” and an inaugural award for podcasting that went to Amy Poehler’s “Good Hang.”Many of the Oscar favorites won. Timothee Chalamet won his first Golden Globe, for “Marty Supreme,” after four previous nominations. The 30-year-old is poised to win his first Oscar. Fellow nominees like Leonardo DiCaprio and George Clooney stood to applaud his win.“My dad instilled in me a spirit of gratitude growing up: Always be grateful for what you have,” said Chalamet. “It’s allowed me to leave this ceremony in the past empty handed, my head held high, grateful just to be here. I’d be lying if I didn’t say those moments didn’t make this moment that much sweeter.” Glaser comes out swinging The Globes, held at the Beverly Hilton in Beverly Hills, California, got underway with a pointedly political opening from host Nikki Glaser and an early award for the night’s favorite, “One Battle After Another.” Emceeing the show for the second straight year, Glaser kicked off the show with self-aware satire.“Yes, the Golden Globes, without a doubt the most important thing happening in the world right now,” she said.In a winning, rapid-fire opening monologue that landed some punch lines on the usual subjects the age of Leonardo DiCaprio’s dates, Kevin Hart’s height Glaser also dove right into some of her most topical material.For the on-the-block Warner Bros., Glaser started the bidding at $5. Referencing the Epstein files, she suggested best editing should go to the Justice Dept. The “most editing,” however, she suggested deserved to go to Bari Weiss’ new CBS News a dig at the Paramount Skydance-owned network airing the Globes. Globes mix glitz and gloom Political tension and industrywide uncertainty were the prevailing moods heading into Sunday’s awards. Hollywood is coming off a disappointing box-office year and now anxiously awaits the fate of one of its most storied studios, Warner Bros. Following the fatal shooting of Renee Good in Minneapolis by a U.S. Immigration and Customs Enforcement officer, several attendees wore pins reading “Be Good.”The Globes, formerly presented by the Hollywood Foreign Press Association, have no overlap or direct correlation with the Academy Awards. After being sold in 2023 to Todd Boehly’s Eldridge Industries and Dick Clark Productions, a part of Penske Media, the Globes are voted on by around 400 people. The Oscars are voted on by more than 10,500 professionals.But in the fluctuating undulations of awards season, a good speech at the Globes can boost an Oscar campaign. Winners Sunday included Rose Byrne (“If I Had Legs I’d Kick You”) for best female actor in a comedy or musical, and Wagner Moura, the Brazilian star of “The Secret Agent,” for best male actor in a drama. Kleber Mendonça Filho’s period political thriller also won best international film.“I think if trauma can be passed along generations, values can do,” Moura said. “So this to the ones who are sticking with their values in difficult moments.”Other winners Sunday included the supporting actor front-runner, Stellan Skarsgrd who won for the Norwegian family drama “Sentimental Value.” It was the first major Hollywood movie award for the 74-year-old, a respected veteran actor who drew a standing ovation.“I was not prepared for this because I, of course, thought I was too old,” said Skarsgrd. ‘The Studio’ and ‘Adolesence’ win In the television awards, “The Pitt” took best drama series, while Noah Wyle won, too, brushing past his former “ER”-star Clooney on the way to the stage. Netflix’s “Adolescence” won four awards: best limited series, and acting awards for Erin Doherty, Stephen Graham and 16-year-old Owen Cooper.Other winners included Rhea Seehorn for “Pluribus” and Jean Smart for “Hacks.”But the most comically pognant award of the night went to “The Studio,” the best comedy series winner. Seth Rogen’s Hollywood satire memorably included an episode devoted to drama around a night at the Globes. (Sample line: “I remember when the red carpet of the Golden Globes actually stood for something.”) Rogen also won best male actor in a comedy.“This is so weird,” Rogen said, chuckling. “We just pretended to do this. And now it’s happening.” For more coverage of this year’s Golden Globe Awards, visit: https://apnews.com/hub/golden-globe-awards Jake Coyle, AP Film Writer
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